By Guido (da Pisa), Dante Alighieri
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Extra resources for Guido da Pisa's Expositiones et glose super Comediam Dantis
There are no illustrations, but space is left for illuminated initials. , vol. II, p. 299. 23 E Moore, Contributions to the Textual Criticism of the Divina Commedia. Cambridge, 1899, p xvii (sunken folio) 24 Brieger, Meiss, and Singleton, op. , vol. I, p. 54. 25 Cf. Moore, op. , item q, p. 604. Page XIX on the right folio of the first numbered page. Unlike the Chantilly manuscript, the work is numbered in Arabic throughout, from folios 1 to 253. On folio 1 recto: «Incipit prima cantica»; on folio 29 verso, «Explicit prima cantica Comedie Dantis».
Cantos three and fifteen are quite sketchy, and may even have remained incomplete. Canto seventeen goes on endlessly on the subject of usury, and canto twenty-four gets sidetracked on transformations and serpents. If the cantos had been commented upon in sequence, the author might have distributed his material more evenly, as well as avoided occasional repetitions, such as those on usura in c. 122 v. The purpose of his Commentary was apparently to honor Lucano with a gift which eulogized that lord's own endowments and achievements.
30 Vandelli, op. , pp. 150 ff. 31 Cf P. Ginori-Conti, «Il codice dei commenti alla Commedia Poggiali-Vernon, oggi Ginori-Conti», in Studi danteschi, XXIII (1938), pp. 99-105 (p. 101). 32Ibid. Page XXI da Pisa and cantos XXV-XXXIV from Graziolo de' Bambaglioli. Since neither the Laurentian manuscripts nor the Poggiali-Vernon can help to establish the text of the Expositiones, they have not been utilized in the present critical edition. The careful planning and the beautiful execution of the miniatures in Cha indicate that this is the actual copy prepared for presentation to Lucano Spinola.
Guido da Pisa's Expositiones et glose super Comediam Dantis by Guido (da Pisa), Dante Alighieri